riley bob (99 résultats)

Etat : Very Good. Used book that is in excellent condition. May show signs of wear or have minor defects.

Hardcover. Etat : Good. Connecting readers with great books since 1972! Used textbooks may not include companion materials such as access codes, etc. May have some wear or writing/highlighting. We ship orders daily and Customer Service is our top priority!

Etat : Good. Used book that is in clean, average condition without any missing pages.

Hardcover. Etat : Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less 1.1.

Hardcover. Etat : Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less 1.1.

Hardcover. Etat : Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less 1.1.

Hardcover. Etat : Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less 1.1.

hardcover. Etat : Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

Original Wraps. Etat : Very Good. Front edge has small creases. No markings. Size: 4to - over 9¾" - 12" tall.

Original Wraps. Etat : Very Good. One tiny chip front edge. No markings. Size: 4to - over 9¾" - 12" tall.

Original Wraps. Etat : Very Good. No markings. Size: 4to - over 9¾" - 12" tall.

Etat : New.

Paperback. Etat : Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Etat : As New. Riley, Eugenia; Riley, Bob (illustrateur). Unread copy in mint condition.

Etat : New. Riley, Eugenia; Riley, Bob (illustrateur). Brand New.

paperback. Etat : Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

Etat : Good. Good condition. (Juvenile, Games, Puzzles) A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.

Hardcover. Etat : Good. No Jacket. Malvern, Corinne & Riley, Bob (illustrateur). Illustrated green laminated boards, rubbed at corners and edges and worn at head of spine. 256pp, prior owners stamp on front pastedown and title page, otherwise contents clean and unmarked. Not the most attractive copy, but contents still sound within the binding. Number 707 at top of spine.

First edition, first printing Fine bright pictorial stiff wraps with strong spine and clean text.

paperback. Etat : Good. Institute of Contemporary Art; MIT Press, Boston, Cambridge, Mass. [Published date: 1986]. Softcover, 115 pp; illustrated throughout with black-and-white and some color reproductions; 27 cm. First edition. In good condition. Glossy red wrappers have a 1/2" tear to the bottom edge of the back cover, creasing to the front cover and light overall scuffing with a bit of the color scuffed off along edges. Binding tight. Pages clean and unmarked. NOT Ex-Library. Published to accompany the exhibition held at the Institute of Contemporary Art, Boston, September 25 - November 30, 1986. Essays by Thomas Crow, Yve-Alain Bois, Elisabeth Sussman, David Joselit, Hal Foster, and Bob Riley explore themes of simulation, cultural critique, and the shifting status of painting and sculpture in the 1980s. Contents include: The Return of Hank Herron; Painting: The Task of Mourning; The Last Picture Show; Modern Leisure; The Future of an Illusion, or The Contemporary Artist as Cargo Cultist; Notes on New Media Theater; Checklist. Checklist lists works by: Ross Bleckner, Peter Halley, Sherrie Levine, Philip Taaffe, Jon Kessler, Jeff Koons, Joel Otterson, Haim Steinbach, Richard Baim, Gretchen Bender, Perry Hoberman. [From Publisher] Endgame provides the first comprehensive discussion of two interrelated groups of artists who have recently emerged amidst brisk critical debate and who all, in various ways, represent a critique of the commodity, or the commodification of art objects. These are the painters Ross Bleckner, Peter Halley, Sherrie Levine, and Philip Taaffe, who have ironically adopted the visual strategies of earlier modern artists, and the sculptors General Idea, Jon Kessler, Jeff Koons, Joel Otterson, and Haim Steinbach, who use consumer objects and their modes of presentation as raw material in their sculpture. Both sets of artists draw upon the formal lessons of Pop Art, Minimalism, and the more recent work of appropriation artists, as well as upon current theories of the political economy of the image. The book includes substantial essays by some of today's most noted art historians and critics: Yve-Alain Bois (Associate Professor, Johns Hopkins University) charts the history of the belief in the end of painting which he sees as central within 20th-century art, and he compares the diverse strategies that Mondrian, Rodchenko, Duchamp, and more recently Robert Ryman have employed to work out an end of painting, with the qualitatively different apocalyptic tone of Halley, Levine, Bleckner, and Taaffe. Hal Foster (Senior Editor of Art in America) examines the critical position of the sculpture of Steinbach, Koons, Kessler, and General Idea in relation to the history of the opposition between commodity and art object within modern art as first dramatized by Duchamp's readymades. Thomas Crow (Associate Professor of Art History, University of Michigan) charts the recent history of image appropriation as an antimodern or postmodern gesture of art's apparent loss of originality and cultural or social powerlessness in the face of the paradoxically thriving art market. The iconography of the sculptures included in Endgame is the focus of David Joselit's essay Modern Leisure, which notes in particular the frequency with which objects associated with sports and housecleaning are incorporated in their works. Elisabeth Sussman charts the transition between widespread appropriation of imagery drawn from mass media sources in the late 1970s and early 1980s to the use of fine art referents (like Op Art) in recent abstract painting. Bob Riley describes media performances by Richard Baim, Gretchen Bender and Perry Hoberman which accompany Endgame.

Bob Riley (illustrateur). A very good plus yellow picture cover hardcover. 59 cent price on front board. Wonder book number 692. Copyright 1957, 1977 edition.

paperback. Etat : Good. Institute of Contemporary Art; MIT Press, Boston, Cambridge, Mass. [Published date: 1986]. Softcover, 115 pp; illustrated throughout with black-and-white and some color reproductions; 27 cm. First edition. In good+ condition. Glossy red wrappers have light bumping and creasing to edges and corners and light overall scuffing with a bit of the color scuffed off along edges. Binding tight. Pages clean and unmarked. NOT Ex-Library. Published to accompany the exhibition held at the Institute of Contemporary Art, Boston, September 25 - November 30, 1986. Essays by Thomas Crow, Yve-Alain Bois, Elisabeth Sussman, David Joselit, Hal Foster, and Bob Riley explore themes of simulation, cultural critique, and the shifting status of painting and sculpture in the 1980s. Contents include: The Return of Hank Herron; Painting: The Task of Mourning; The Last Picture Show; Modern Leisure; The Future of an Illusion, or The Contemporary Artist as Cargo Cultist; Notes on New Media Theater; Checklist. Checklist lists works by: Ross Blecket, Peter Haley; Sherrie Levine, Philip Taaffe, Jon Kessler, Jeff Koons, Joel Otterson, Haim Steinbach, Richard Baum, Gretchen Bender, Perry Hoberman. [From Publisher] Endgame provides the first comprehensive discussion of two interrelated groups of artists who have recently emerged amidst brisk critical debate and who all, in various ways, represent a critique of the commodity, or the commodification of art objects. These are the painters Ross Bleckner, Peter Halley, Sherrie Levine, and Philip Taaffe, who have ironically adopted the visual strategies of earlier modern artists, and the sculptors General Idea, Jon Kessler, Jeff Koons, Joel Otterson, and Haim Steinbach, who use consumer objects and their modes of presentation as raw material in their sculpture. Both sets of artists draw upon the formal lessons of Pop Art, Minimalism, and the more recent work of "appropriation" artists, as well as upon current theories of the political economy of the image. The book includes substantial essays by some of today's most noted art historians and critics: Yve-Alain Bois (Associate Professor, Johns Hopkins University) charts the history of the belief in "the end of painting" which he sees as central within 20th-century art, and he compares the diverse strategies that Mondrian, Rodchenko, Duchamp, and more recently Robert Ryman have employed to work out an "end of painting," with the qualitatively different apocalyptic tone of Halley, Levine, Bleckner, and Taaffe. Hal Foster (Senior Editor of Art in America) examines the critical position of the sculpture of Steinbach, Koons, Kessler, and General Idea in relation to the history of the opposition between commodity and art object within modern art as first dramatized by Duchamp's readymades. Thomas Crow (Associate Professor of Art History, University of Michigan) charts the recent history of image appropriation as an antimodern or postmodern gesture of art's apparent loss of originality and cultural or social powerlessness in the face of the paradoxically thriving art market. The iconography of the sculptures included in Endgame is the focus of David Joselit's essay Modern Leisure, which notes in particular the frequency with which objects associated with sports and housecleaning are incorporated in their works. Elisabeth Sussman charts the transition between widespread appropriation of imagery drawn from mass media sources in the late 1970s and early 1980s to the use of fine art referents (like Op Art) in recent abstract painting. Bob Riley describes media performances by Richard Baim, Gretchen Bendes and Perry Hoberman which accompany Endgame.

Soft cover. Etat : GOOD, Decent Reading Copy. Interior Artists: Jack Dumas; Walter Richards; Ken Riley; Marshall Davis; Henry Syverson; (illustrateur). ARGOSY Men Adventure Magazine Volume 361, #1 (July /1965; Popular Publications;) Photo Front Cover : Burton McNeely; 148 pages including covers; Writers: John Creasey; Robert Crichton; Glenn Infield; Pete Kuhlhoff; Charles C. Niehuis; Bob Wark; David Sanessa; Walton Smith; Robert Edmund Alter; Junius Adams; Ward Kennedy; Eric Nyberg; Bob Brister; Bradford Angier; Gil Paust; George Daniels; Norton Mockridge; Harry Steeger; Bruce Cassiday; Martin Deutsch; George Laycock; J. Edward Schipper; Joseph Scholnick; Interior Artists: Jack Dumas; Walter Richards; Ken Riley; Marshall Davis; Henry Syverson; *** Book Order # ADV158-2; Condition= GOOD; (Average Used reading Condition); cover creased; 1" x 1/4" piece missing from upper right corner of front cover; mailing label to lower right of front cover; Price=US$10.00); Size: 4to - over 9¾" - 12" tall TRUE FIRST Edition MAGAZINE Format Thus. Book.

Soft cover. Etat : Good Plus. No Jacket. Good+ pictorial softcover. 1995. Previous owner's name on inside cover. Pages all clean/unmarked. Bump and light crease to rear cover and few pages at bottom.Photos throughout. Mild edge/corner wear. Binding solid. OVERSIZE volume. 174 pp.

Paperback. Etat : Near Fine. 1st. 37 pages, illustrations; 26 cm. Exhibition held at the Institute of Contemporary Art, Boston, September 17 to November 8, 1987. Near fine. Firm binding, clean inside copy. Light shelfwear. *** Pioneer of Video art. Includes an interview with the artist. Size: 4to. Collectible.

Hardcover. Etat : Very Good. Etat de la jaquette : No Dust Jacket. Very nice and clean inside and out. Name inside the front cover else no marks. ; Small 8vo 7½" - 8".

Hardcover. Etat : Very Good. Etat de la jaquette : No Dust Jacket. Riley, Bob (illustrateur). very good hardcover with pictorial cover. 1954. Small tear throughout book.

Etat : As New. Unread book in perfect condition.

Etat : New.

Soft cover. Etat : Very Good. A good clean copy.